"Cross-media creation helps printmaking to broaden its horizons, bringing multiple perspectives to my work. I cherish such opportunities."

Arrow Lai (L6-02)

Arrow Lai (L6-02)

Arrow Lai Siu-Wai (L6-02) primarily uses found images in his work, presenting them in the forms of prints and installations. His artistic practice focuses on exploring self-identity within the context of post-colonial Hong Kong. Currently, Lai is studying post-colonial issues under this theme and is utilising various printmaking materials and concepts in his projects to explore related topics.

Lai is an artist and art educator. He graduated from Hong Kong Baptist University with a Bachelor of Arts degree and a Postgraduate Diploma in Visual Arts Education, and later obtained a Master’s degree in Print from the Royal College of Art. He primarily works with woodcut prints and presents his work in the forms of prints, moving images, and videos. His works have been exhibited internationally, including “In Transition” at Bow Arts in London (2025), “After” at the ASC Gallery in London (2024), “A Curious Cloud” at the Soho Revue Gallery in London (2024), the Global Design Graduate Show (2023), the Woolwich Contemporary Print Fair (2023, 2024), and the IMPACT 11 International Printmaking Conference (2021). Currently, Lai teaches printmaking in the Department of Cultural and Creative Arts at The Education University of Hong Kong.

Firework 02

Image courtesy of the Artist

Q1. J

What are the similarities and differences between unique screen printing and conventional screen printing? What are the greatest challenges and joys in printmaking?

A1. A

Unique screen printing and conventional screen printing fundamentally use the same tools; however, their main distinction lies in the number of editions that can be produced. Unique screen printing emphasises singularity and does not require light-sensitive materials for the printing plate. Instead, paint is directly applied to the plate and then scraped with a squeegee, allowing for the creation of a one-of-a-kind print each time. In contrast, conventional screen printing can produce multiple copies of the same image, but the process involves using light-sensitive materials, exposing the screen, and washing it to create a stencil effect.

The challenge in printmaking lies in the need for patience, as the process involves handling intricate procedures. During printing, one inevitably encounters mistakes or failures, requiring constant adjustments to achieve the desired result. Despite this being a significant challenge, I find the process of creating prints to be as enjoyable as cooking. One first designs the recipe, then employs various methods, tools, and materials to craft the piece. There is a profound sense of satisfaction upon completing the work, and each piece is distinct from the last.

Q2. J

Before creating a work, do you plan out the colour combinations in advance, or do you prefer to improvise? Have you ever found that the finished piece differed significantly from your initial imagination?

A2. A

I generally plan the colours, but I also leave room for unexpected, delightful effects. Typically, the finished piece does not deviate significantly from my initial vision.

Firework 03

Image courtesy of the Artist

Firework 06

Image courtesy of the Artist

Q3. J

Do you tend to choose subjects in reality that are inherently vivid, with high contrast and saturation, as the focus of your work? Or do you prefer to imbue objects with new colours, forms, or attributes?

A3. A

My choice of subject is determined by my life experiences. Before creating, I do not deliberately select subjects that are inherently vivid, with high contrast and saturation. Instead, once the theme is clarified, I seek suitable subjects to express it. When a work can present an alternative perspective, including colours, forms, and attributes, it often results in delightful surprises.

Q4. J

Is the framing of your work also part of your creative process? Do you deliberately choose or modify the frames?

A4. A

I intentionally choose frames that are not overly decorative, allowing the audience to focus on the content of the work.

Firework 09

Image courtesy of the Artist

Firework 08

Image courtesy of the Artist

Firework 07

Image courtesy of the Artist

Q5. J

How do you view the relationship between the exhibition space and the artwork?

A5. A

I believe that the exhibition space can enhance the layers of the artwork and influence how it is viewed. Aside from site-specific art, most works are not created with the exhibition space as a starting point. The exhibition space is typically determined after the artwork is completed; however, if designed well, it can create a narrative that offers the audience an engaging viewing experience while resonating with or reinforcing the theme of the work.

For instance, in my series of fireworks pieces, I find that the size of the exhibition space affects how viewers perceive the artwork. My pieces consist of lines, and if viewed from too close, the shapes can become blurred and difficult to discern. In a larger space, when viewers stand at an appropriate distance, the clarity and comfort of the experience improve. Additionally, I hope that viewers can engage with the relationship between the subject, space, and theme through the work.

Q6. J

How do you choose the medium for your work in response to different themes? Or do you tend to select a medium you want to explore first and then find a theme?

A6. A

There are four types of printmaking, each with its unique characteristics and various extended creative methods, covering different concepts. Depending on the theme, I choose different print types or concepts to present my work. I tend to prioritise the creative theme and conduct research before seeking an appropriate medium to execute it. In fact, I believe there is no right or wrong order in this process; it simply comes down to personal preference.

TOP